John Renbourn plays in many different tunings including DADGBE and open G. He also plays in standard tuning.

It was these British pioneers in the early 1960s that launched the modern revolution of alternate tunings. Guitarists such as Davey Graham, Martin Carthy, John Renbourn, and Bert Jansch used alternate tunings to present more challenging guitar arrangements and push the limits of commonly accepted steel string guitar technique for the right hand as well. For instance, Davey Graham is said to have "invented" DADGAD. While that claim may be a stretch, it is certain that he was among the masters of this tuning in his day. Bert Jansch's work with the British folk group Pentangle was key to popularizing the alternate tunings for a wider audience including those on our side of the Atlantic.

Alternate tunings in the States took several parallel paths starting in the 1960s. For instance, John Fahey led the charge for the fledgling guitar style he called "American Primitive" but more commonly is known today as fingerstyle guitar. Fahey's contribution cannot be understated. Reaching back for the strong right hand techniques used by pioneering delta blues players and coupling them with alternate tunings, he created a style previously unheard. To further his music and re-introduce people to the original performers he adored, Fahey founded Tacoma Records.

One of Fahey's protegés, Leo Kottke, took the style to the next level in the late 60s and early 70s with his aggressive right hand attack and an arsenal of alternate tunings from which to work. Kottke's compositional style and successful forays into ensemble work broadened the audience still again. Both Fahey and Kottke were unique in other ways - each played most of their songs in alternate tunings and each worked primarily as a solo guitarist. Together, these two guitarists paved the way for today's fingerstyle masters ranging from Windham Hill founder, Will Ackerman, to acoustic pyro-technician Michael Hedges to the neo-classical prowess of Muriel Anderson.

Crosby uses tunings as part of the songwriting process. For instance, Guinnevere is in EBDGAD. In My Dreams is in DADDGC.

Nashville got in on the magic as well when Chet Atkins and Jerry Reed began using alternate tunings in some of their work. Chet Atkins used alternate tunings in the early 50s on tunes such as "Blue Gypsy." Long considered one of Chet's best albums, 1973's "Chet Atkins Alone" is a hallmark of solo guitar work and features several different tunings. Jerry Reed's star rose through many of intricate and unusual arrangements that were made possible by alternate tunings.

Singer-songwriters in the 60s and 70s realized the power and beauty of alternate tunings as well. David Crosby and Joni Mitchell were strong proponents of alternate tunings. Crosby has been called a "guitar thinker" by his contemporaries. He uses literally dozens of different tunings and tends to think through the intervals each tuning provides as a way of accenting elements of the melody and rhythm. Most of Crosby's songs are written in an alternate tuning. Joni Mitchell may have been one step ahead of Crosby in her thinking. Her early songwriting style depended upon the tuning to define the emotional feel of the song and was an elemental part of the creative process for her. In talking about her work with ensembles, Joni felt most bands didn't "get" her arrangements due to her unorthodox writing style. Paul Simon was another proponent of alternate tunings and incorporated them in songs such as "Scarborough Fair."